Author Archives: Raphael Rubinstein

Hains

See Silo entry on the Marginalia of Raymond Hains in Vitrine

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Tevet

In the mid-1980s, geometrical abstraction was, for many, the artistic mode where the most exciting lines of thought, turns of style and artistic practices converged. It was the privileged locus of postmodernism’s critique of modernist idealism, the vehicle for the … Continue reading

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Vitrine

October 1, 2012 KARIN DAVIE, PRESS RELEASE, 1999 I don’t keep very many gallery press releases but here’s one that I’ve held on to: the announcement for Karin Davie’s 1999 solo show at Marianne Boesky. This page of energetic sketches … Continue reading

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Polke and Prince

It’s surprising, at least to me, that the critical responses to Richard Prince’s “rubber band paintings” haven’t yet mentioned an important precedent: Sigmar Polke’s Gummibandbild Dürer-Hase (Rubberband Dürer Hare) from 1970. In the late 1960s, Polke, fresh out of the … Continue reading

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Sherman

Cindy Sherman is clearly a major artist, arguably the most important American artist of her generation, probably the most influential. She is one of those transformational figures whose appearance divides art history into a before and after. The 2012 survey … Continue reading

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Daniëls

No oeuvre of any substance is easy to approach. Confronted by an artist worthy of prolonged attention, there will always be contradictions, mysteries, historical connections to establish and to discredit, accretions of misinterpretations to scrape away, even as new layers … Continue reading

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Télémaque

Hervé Télémaque was only 20 years old when he left Haiti. It was 1957 and François “Papa Doc” Duvalier had just come to power. Télémaque’s first stop in a life of exile that continues to this day was New York … Continue reading

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Dolla

Would you believe me if I told you that some of the most significant statements in and about painting have been made with dishtowels, handkerchiefs, fishing lures, pillowcases and rolls of 14-centimeter wide muslin? Would you believe me if I … Continue reading

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Roubaud

The penultimate film by Jean Eustache, the French director famed for The Mother and the Whore (1973), is Les Photos d’Alix (1980). It’s an 18-minute, 35-mm color film in which we see a photographer—Alix Cléo Roubaud—showing her photographs to a … Continue reading

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Bauermeister

An exhibition I would love to curate, or see someone else organize, would survey the use of lenses in postwar art, excluding all official “lens-based” art. The show would include something from Sigmar Polke’s “Lens Paintings,” and an example of … Continue reading

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